As was often the case with South Africa music, the best results came about when musicians and producers of various backgrounds defied apartheid rules and collaborated. So although the final product here is an album of Tsonga music, giving it that superior touch are top players like Felani Gumbi and Vuka Mbele who handle all keyboards, including plenty of spacey samples. Frontman T.S.D. Maseve plays bass and in his notes makes it clear that his music is for one and all: “My thanks to all the people who worked on this album with me. I hope all of you will enjoy my Tsonga Music.”

New-school grooves produced by Poth ‘Sun’ Nkotsoe, formerly one half of Monwa & Sun and a popular solo act after his eponymous debut in 1990 and Looking For Love(1991). He surely could’ve put his own name on this four-track album, given that the early house beats take centre stage.

Synth-heavy mbaqanga along the lines of the Soul Brothers, Abangani, Madlala Brothers and many others. Produced by Bheki Ngcobo (Ihashi Elimhlophe) and engineered by keyboard wizard Danny Bridgens. Best tracks ‘Isingehlule’ and ‘Intozami’ see Izinsizwa (the young men) replacing traditional Zulu guitar lines with uptempo synths for infectious, offbeat winners.

Debut album from Pumla Mtengwane, with all songs composed and keyboards played by Keiser Dipu, former frontman of Chaka. Uptempo pantsula grooves with Poosh’s singing and rapping often taking a backseat to frantic beats and layers of synths, best on tracks like ‘Johnny Boy’, ‘Do It’ and ‘Sisi Rebecca’, a funky ode to rising star Rebecca Malope.

“From humble beginnings singing in a choir choir, talent competitions and shows, here is my debut album. Thank you to Keiser Dipu for always believing in me and my dream. Together we had made this album come true. Special thanks to Music Team for the chance in a million to record my album and for the support and encouragement they have given me. Everybody has a dream, and if you can dream it, you can achieve it.”

Leaders of the new-school sound that drew influence from international trends like Eurobeat and New Jack Swing, the DPMC label struck gold with the Syndicate Sisters, a trio whose sound typifies the early 90s pre-kwaito sound, along with MarcAlex, J.E. Movement and others. All instruments and programming by Marvin Moses, featuring guest vocals by a young Ringo Madlingozi (on ‘Bad Boy’) and the late great Ronnie Joyce (on ‘Every Song’).

Armed with the most talented bass player in the business in Bakithi Kumalo, Thetha were one of the slickest early bubblegum outfits, alongside the The Rockets and others. The two tracks on this 12” are not their best however, with the band striving for an overproduced "international" sound with minimal local influence.

Obscure early 80s disco single on Emil Dean Zoghby’s Heads label, produced by the legendary Peter Moticoe and co-written by future bubblegum star William Mthethwa alongside J. Ramauwane and T. Lyn. Full of funky synths, best showcased on the B-side dub version.

Promotional single for popular boxer Arthur ‘The Fighting Prince’ Mayisela, accompanied at the time by a music video. The song itself isn’t as bad as this might suggest, particularly the B-side versions (‘Ring Mix’ and ‘Video Mix’) with their stripped down synths, falsetto vocals and funky bassline. Featuring keyboards by Emil Dean Zoghby and ‘drums and computers’ by producer Phil Audoire. File under Sports along with the many South African soccer albums, next to 'Dingaan Thobela'.

Venda grooves driven my guitar and bass but underpinned by plenty of sweet synths and organ sounds, with infectious call-and-response vocals that work best on tracks like ‘Ndokondelela’ and ‘Wo Ndingelani’. Composed and produced by Ananias Maphwanya (Gift Brothers).

Synth instrumentals of songs composed by Platform 1, Pure Gold and the Zion Christian Church (ZCC), among others. The result is an album full of interesting synth sounds over funky basslines, similar to African Youth Band, S.Y.B., J.G. Project and others. Named after the train station in downtown Johannesburg.

Following the groundbreaking album Fuquza Dance (1987) and the subsequent success of Portuguese (1988) and Sophiatown (1989), kwaito forerunner Senyaka Kekana’s 1991 album Ntate Senyaka was certainly not his best, attempting to blend his signature rapping style with traditional accordian grooves. He was soon back to his best for 1993’s Ma-Gents and remained popular as an artist and actor until his untimely death in 2015.

One of the top producers of the era, John Galanakis launched the careers of some of bubblegum’s biggest names, including Dan Nkosi, Zizi Kongo and Benjamin Ball. An accomplished musician in his own right (with Banjo and others), in 1990 Galanakis released this solo studio project of instrumental synth jams. Dedicated to the plight of the homeless and poorin South Africa, the song titles pay homage to some of the country’s famous townships: Khayelitsha, Kliptown, Crossroads, Orange Farm and Mshenguville, while others refer more generally to the township experience, such as ‘Jimmy’s Shack’ and 'Zozo in the City’.

“This is the beat of the City,” the liner notes proclaim. “It is the sound of the country village. It is the soul of the squatter camps. It is the sadness of the past, and the hope of the future. It is joy for today. It is Africa”